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Kwartalnik Filozoficzny > 2015 > 43 > 1 > 117-132
The article is an analysis of a number of theoretical misunderstandings connected with the understanding of music. The author first makes several remarks on the relation between experiencing and understanding music. Secondly, she distinguishes five kinds of understanding of musical compositions and calls attention to the fact that only some of them are “democratic”. Thirdly, the thesis that “music...
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Józef Michal Chominski's postulate of investigating the 'real sound' of a composition is the most essential aspect of the theory of musical sonology; yet the existing analytical literature regards it primarily as a metaphor. In Chominski's approach, the 'auditive shape of sound' provides the true basis for investigation, whilst its music notation records the projection of the composer's creative intention...
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Jozef Chominski's writings from the 1950s and 1960s reveal that sonoristics was conceived as a theory that attempted to rationalize the musical language of the mid-century avant-garde and focused on the issues of timbre and texture. One of the most innovative aspects of this theory was the ability to explain the novel sound qualities of twentieth-century music as transformations of traditional musical...
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Polish avant-garde music after 1956 has often been described by the term 'sonoristic', introduced into Polish musicology by the musicologist Józef Chominski. This trend, characterized by an emphasis on texture and timbre and often coupled with non-traditional instrumental and vocal techniques, became known as 'sonorism' [sonorystyka] and associated with the term 'Polish School'. While this paper touches...
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The article sets out to prove the hypothesis that the sonoristic aspect of Serocki's music is one of the main indicators of his mature and late style. The tendency to compose polychromatic sound structures is already marked in the works dating from the 1950s, and continues until the final years of his creative development. The composer combines sonoristic and dodecaphonic techniques with aleatoric...
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The article focuses on the concept of sonorism and related terms as musicological and critical tools used in in the description of Polish music after 1956. The author demonstrates that this termonology has constituted a valuable component in musicological thinking in Poland, and he considers various advantages as well as stylistic and chronological limitations of sonoristic concepts for music composed...
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Polish sonorism in general, and its specific form as developed by Szalonek, pose some unusual challenges for musical analysis and interpretative musicology, owing to the fact that they give prominence to aspects of music such as timbre and texture whose sensuously immediate character is sufficiently complex to mean that they are, or at least would seem to be, highly resistant to straightforward functional...
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Reception of Mahler's First Symphony has often concluded that it undermines the teleological premise of its symphonic principles. The aurhoress proposes that Mahler's 'failure' to achieve a clear syntactic process shows instead a proactive engagement with the potential of sonorities to create a meaningful, multi-dimensional space. This quality in his music can be framed as a type of early sonoristic...
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The development of sound-recording technology, as well as various avant-garde artistic manifestos promoting timbral experiments, led to increased interest in the problem of sound quality by twentieth-century composers and music theorists. Sound quality was regarded as being concerned with the experience of performed music (characterised through the metaphor of power or colour) and, in the second half...
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In spite of the title, this article is not devoted exclusively to the issue of either unity or dispersion of the achievements of the branch of hermeneutics called (as distinct from philosphical hermeneutics) textual hermeneutics. The extreme form of this unity (as well as continuity) is symbolised here by the 'whole woven cloak'; while the extreme form of non-coherence is referred to as a 'patchwork'...
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The first distinguishing sign of the postmodern idiom is the restoration of faith in traditional subjects. This means a return to melodiousness, rhythmicity, shaping the form on the basis of models tried throughout history - in other words, a return to the past and to musical tradition, which at one time was consciously rejected by modernist '-isms'. However, postmodernism is not a simply a reaction...
